托福听力TPO4原文 Lecture 4-智课教育旗下智课教育.pdf

智 课 网 托 福 备 考 资 料托福听力TPO4原文 Lecture 4-智课教育旗下智课教育以下是小编为大家整理的托福听力TPO4原文中Lecture 4的文本内容，希望大家能够认真阅读，不懂的地方可以参考翻译，相信会有所收获。下面就让小编来为大家介绍一下托福听力TPO4原文中Lecture 4的文本内容吧，大家要好好把握，这些都是非常有价值的材料，同时，大家也可以登录智课教育论坛进行TPO练习辅导，希望能够给准备托福听力的同学带来帮助。TPO 4 Lecture 4United States governmentNarratorListen to part of a lecture in a United States governmentclass.ProfessorOK,last time we were talking about government support forthe arts.Who can sum up some of the main points?Frank?FrankWell,I guess there wasnt really any,you know,officialgovernment support for the arts until the twentieth century.Butthe first attempt the United States government made to,youknow,to support the arts was the Federal Art Project.ProfessorRight,so what can you say about the project?FrankUmit was started during the Depression,umin the 1930sto employ out of-work artists.ProfessorSo was it successful?Janet?What do you say?JanetYeah,sure,it was successful.I mean,for one thing,theproject established a lot ofuh like community art centers andgalleries in places like rural areas where people hadnt reallyhad access to the arts.ProfessorRight.FrankYeah.But didnt the government end up wasting a lot ofmoney for art that wasnt even very good?ProfessorUhsome people might say that.But wasnt the primaryobjective of the Federal Art Project to provide jobs?FrankThats true.I meanit did provide jobs for thousands ofunemployed artists.ProfessorRight.But then when the United States became involved inthe Second World War,unemployment was down and it seemsthat these programs werent really necessary any longer.So,moving on,we dont actually see any governwell anyreal government involvement in the arts again until the early1960s,when President Kennedy and other politicians started topush for major funding to support and promote the arts.It wasfelt by a number of politicians that well that the governmenthad a responsibility to support the arts as sort of oh,what canwe say?.the the soulor spirit of the country.The idea was thatthere be a federal subsidyumuhfinancial assistance to artistsand artistic or cultural institutions.And for just those reasons,in1965,the National Endowment for the Arts was created.So it wasthrough the NEA,the National Endowment for the Arts,umthatthe arts would develop,would be promoted throughout thenation.And then individual states throughout the country started toestablish their own state arts councils to help support the arts.There was kind of uhcultural explosion.And by the mid 1970s,by 1974 I think,all fifty states had their own arts agencies,theirown state arts councils that work with the federal governmentwith corporations,artists,performers,you name it.FrankDid you just say corporations?How are they involved?ProfessorWell,you see,corporations arent always altruistic.Theymight not support the arts unlesswell,unless the governmentmade it attractive for them to do so,by offering corporations taxincentives to support the arts,that is,by letting corporations payless in taxes if they were patrons of the arts.Um,the KennedyCentre in Washington D.C.,you may uhmaybe youve beenthere,or Lincoln Centre in New York.Both of these were builtwith substantial financial support from corporations.And theKennedy and Lincoln centers arent the only examples.Manyof your cultural establishments in the United States will have aplaque somewhere acknowledging the support the money theyreceived from whatever corporation.Oh,yes,Janet?JanetBut arent there a lot of people who dont think its thegovernments role to support the arts?ProfessorWell,as a matter of fact,a lot of politicians who did notbelieve in government support for the arts,they wanted to doaway with the agency entirely,for that very reason,to get rid ofgovernmental support.But they only succeeded in taking awayabout half the annual budget.And as far as the public goes,wellthere are about as many individuals who disagree with thegovernment support as there are those who agree.In fact,with artists in particular,you have lots of artists whosupport and who have benefited from this agency,although itseems that just as many artists oppose the government agencybeing involved in the arts,for many different reasons,reasonslike they dont want the government to control what theycreate.In other words,the arguments both for and againstgovernment funding of the arts are as many and,and as variedas the individual styles of the artists who hold them.美国政府旁白：请听一段美国政府课上的演讲。教授：好的，上次我们讲了关于美国政府支持艺术的问题，有同学可以总结一下主要观点吗？Frank？Frank：嗯，我想直到20世纪政府才开始正式支持艺术的发展。但是美国政府第一次尝试支持艺术的行为是在联邦艺术项目上提出的。教授：对，那对这个项目你有什么看法呢？Frank：嗯，该项目开始于大萧条时期，嗯，二十世纪三十年代设立给无业的艺术家提供了工作。教授：那么成功吗？Jenet？你怎么认为？Janet：是，当然成功。一方面，该项目创立起了一堆，呃，像社区艺术中心，画廊和像没能接触到艺术的农村艺术。教授：对。Frank：对，但是结果政府不是浪费了很多钱在一些造诣都不高的艺术上吗？教授：呃，有人会这么说，但联邦艺术项目的最初目的不是为了给人们提供工作吗？Frank：是的。它确实给上千位无业艺术家提供了工作。教授：对。但之后，随着美国参与二战，失业率降低，似乎这些项目就不再有存在的必要性了。那么，继续，事实上，直到二十世纪六十年代，我们没有见过美国政府再次参与到艺术行业中去。当时正值肯尼迪总统和其他政治家开始出力动用大笔资金支持并改善艺术行业。我感觉，一大堆政治家，呃，就是政府有义务支持艺术，作为一种，呃，怎么说呢，国家的灵魂或精神支柱。他们的目标是要有联邦津贴。嗯，呃，给艺术家和艺术的或文化机构的财政援助。而仅仅因为这些原因，在1965 年，美国全国艺术基金会成立。所以，通过全国艺术基金会，艺术可以得到发展，全国性范围内得到改善。之后，美国各州开始成立自己的州艺术咨询会，支持艺术发展。这有点像，呃，文化爆发。而在二十世纪七十年代中期之前，我想应该是 1974 年，所有五十个州都有自己的艺术机关，他们自己的国家艺术咨询会和联邦政府，公司，艺术家，表演者共事。Frank：你是在说公司吗？他们怎么会参与进去的？教授：嗯，你知道的，公司可不总是奉行利他主义。他们可能不会支持艺术，除非政府给他们点甜头，所以通过提供公司捐税鼓励支持艺术的做法，让公司成为艺术的支持者，从而减轻其税负。嗯，华盛顿的肯尼迪中心，你们可能去过，或者是纽约的林肯中心。这些地方都是在公司的财政支持下才建立起来的。而肯尼迪和林肯中心只是其中之一的个例。美国的很多文化机构都有这样那样的铭牌以表明其支持艺术不管他们从哪些公司获得的资助。哦，Janet？Janet：但是不是有很多人认为政府不需承当支持艺术行业的责任吗？教授：嗯，事实上，很多政治家，他们不相信政府，却支持艺术。他们要完全脱离政府机构，正因为这个原因，才能脱离政府的支持。但他们只能成功地不依赖年度预算的一半而已。就大众而言，嗯，不赞同政府支持艺术的人和赞同的人的数量相当。事实上，特别是艺术家，我们有很多艺术家支持这些机构，并从中受益。尽管似乎很多艺术家想政府机构参与到艺术行业中去，原因各种各样，像他们不想让政府限制他们创作。换句话说，对于支持或反对政府资助艺术行业的争论很多，原因也很多，就像各种艺术家拥有自己的艺术风格一样。以上就是托福听力TPO4原文中Lecture 4的文本内容，希望大家能够用心体会，更多TPO文本内容小编稍后为您呈现。最后，小编祝大家在托福考试中取得好成绩！